Anton BRUCKnER HUgo WoLF REnéE FLEming CHRistiAn

A n t o n B RU C K N E R
S y m p h o n y NO . 7
H ug o WOL F
S o n g s f o r S o p r a n o
a n d O r c h e s t r a
C hr i s t i aN
Th i ele m a n n
AT THE S EMPEROPER DRE S DEN
S taat s ka p elle
D re s de n
R e n é e F le m i n g
C hr i s t i aN
Th i ele m a n n
When
conductor
Christian
Thielemann, master interpreter of
S taat s ka p elle
the romantic repertoire, and Renée
Fleming, late-romantic specialist par
D re s de n
excellence, weave their talents into
the orchestral tapestry unfolded
by the Sächsische Staatskapelle Dresden, one of the oldest and
Anton Bruckner
most revered orchestras in the world, they create, as put by the
Symphony No. 7 in E major, WAB 107
Süddeutsche Zeitung, “romantic music as magic for the ears”.
AT THE S EMPEROPER DRE S DEN
RICHARD STRAUSS
Befreit, Op. 39/4
INAUGURAL CONCERT
Conductor Christian Thielemann
Orchestra Staatskapelle Dresden
SopranoRenée Fleming
Video Director Henning Kasten
Length 106'
Shot in HDTV 1080
Cat. no. A055136150000
All rights reserved · credits not contractual · Different territories
A production of UNITEL
in cooperation with
Semperoper Dresden and CLASSICA
For this special concert, the first concert of Christian Thielemann
as the principal conductor of the Staatskapelle Dresden, they
chose the orchestral songs by the Austrian composer Hugo Wolf
and Anton Bruckner’s Symphony No. 7, making it a concert full
of references: Hugo Wolf composed the songs in 1888, four
years after the premiere of Bruckner’s Seventh Symphony. Wolf
admired the more than 34 year older Bruckner, although they only
met twice. Both, Wolf and Bruckner idolized Richard Wagner - just
like Christian Thielemann does today. And with Hugo Wolf’s song
“Er ist’s” (“It’s him”), Christian Thielemann, the “magician at the
conductor’s desk” is welcomed in his new function (Süddeutsche
Zeitung).
Bruckner’s Seventh was premiered in 1884 in Leipzig to universal
acclaim and established Bruckner as a serious composer of
symphonic music. Particularly gripping in this work are its
references to Richard Wagner, whom passed away while Bruckner
was composing the Adagio movement. The composer disclosed
to a pupil that he had been thinking of Wagner’s poor health and
impending death while sketching the slow movement. Another
telltale sign of Wagner’s presence is Bruckner’s use of the
“Bayreuth” tubas, which had never been used in a symphony up
to then.
The recording of the symphony takes its place within a cycle
of Bruckner’s complete symphonies with the Sächsische
Staatskapelle Dresden under Christian Thielemann that is to be
produced over the course of several years – a living monument of
musical architecture.
WORLD SALES: C Major Entertainment
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Photos: © Matthias Creutziger folder: luebbeke.com
HUGO WOLF
Songs for Soprano and Orchestra
Verborgenheit
Er ist’s
Elfenlied
Anakreons Grab
Mignon (2nd Version)